Monday, August 13, 2007


St Francis: So I think: it's a failure to realize. How much more dangerous to remain in a "light-hearted" state of mind than to focus on negative possibilities.

The Buddha: A sick power struggle.

St Francis: What he doesn't know. A punishment by an outside that turns back around to bite him in the ass. Therefore there is guilt. And no outside.

The Buddha: Lack of guilt is a false innocence. A domesticity.

St Francis: Sacrifice. Demands. Denial. Coffee cups and soup spoons. Trips to the market. Walking in the city. Closed doors. Phone calls. Works of literature performed as abstract revenge, which paradoxically hold the inevitability of disaster in permanent abeyance.

The Buddha: A revenge fantasy. A lie. Fictional subjectivities collapse into one another's violent desires. But there is only one writer of fiction. Or rather, oneness expands and implodes into a multiplicity of fictions. The writer selves?

St Francis: There are 2 ways of looking at things: realistically and phantasmatically. Yet they are not opposed.

The Buddha: Like structure and non-structure?

St Francis: A structure of opposites, if it is composed of opposing structural possibilities, collapses into profusion. There can be more than one nothing. More than one mise-en-abyme.

The Buddha: OK, The Buddha and St Francis of Assisi face off. A small, stone lion guards over the showdown, obliquely. St Francis occupies one side of a miniaturized diptych-- gold-painted, weathered, medeival. "Lord make me an instrument of Thy Peace." The Buddha stares into the gap between, while the stooped, haloed Saint pronounces a permanent blessing over what looks to be a pile of rocks, but might actually be a gathering of small animals. A cloaked, flattened figure to his (no, the observer's) left looks on. Cloaked figure vs. carved stone lion. We always need, and thus create, observers for our own delusional scenarios.

St Francis: I, on the other hand, have always been envious of "creative types." I can't stand it when people turn their pain into art. I mean, who do they think they are?

The Buddha: Manipulation is the worst form of flattery. Aphorisms are confining.

St Francis: Even to himself?

The Buddha: Yes.

St Francis: I can never decide if generosity is selfish or not. But I am suspicious by nature, so I leave this open to doubt. If one is never sure of another's motives?

The Buddha: In my opinion, the good is outweighed by the bad. Of course, people often mistake this for pessimism, but it's really just an eternal theme, and, therefore, a doubt is an opening. If you understood me, you'd focus on my positive characteristics. So far, only one person has figured this out, though it proved to be too much of an effort.

St Francis: How many people feel their name doesn't suit them?

The Buddha: I don't want to "include history."

St Francis: The longer I sit here the more I can feel myself contract and expand. The ideals of surrealism have always attracted me more than the results and I have a hard time noticing tense shifts, so when I find myself in a pleasurable flow state, it's already too late.

The Buddha: The world is not that insufficient. Recalcitrants. Cats. Ashtray. Words are not objects; they're barely even words.

St Francis: I'm not trying to: include, erase, describe or depict. There's no hope for: understanding, resolution, or reasurance. Narrative has never been my strong suit. I do not long for: beauty, clarity, or enlightement. "No hugging. No learning." I have never liked nor understood the word "joy." The issue of gender is something I often discuss and deploy as a weapon, but it's really a non-starter.

The Buddha: A mere stop-gap for lonelines? A tone of contention? I see the uselessness. The thought of licking his ass turns me on. I rarely. Delight. Dysmorphia.

St Francis: The lower the object the higher I feel, that's why we called it "The Tundra."

The Buddha: Narrative vs. Prose?

St Francis: So I turned it up and drove fast, holding my breath down the long, endless road that ran alongside a pasture of stone and iron, all the while staring straight ahead and gripping the wheel, and at the same time noticing, or rather feeling, a peripheral presence, until it all fused into one.

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